Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Sweden and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1970.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school London kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lebanon Hanover to the electroclash kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Black Pus. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Marshall Jefferson,
The Men They Couldn't Hang,
cv313,
Swell Maps,
Susan Cadogan,
Drexciya,
Malaria!,
Marc Romboy vs. Booka Shade,
The Associates,
Erasure,
David Axelrod,
Black Moon,
8 Eyed Spy,
Parry Music,
Aloha Tigers,
JFA,
LL Cool J,
World's Most,
Ajijia Myrayebe,
Brass Construction,
Crooked Eye,
Neil Young,
Isaac Hayes,
Cymande,
Pussy Galore,
Black Pus,
Joy Division,
The Skatalites,
The Move,
Grandmaster Flash and the Furious Five,
David McCallum,
Michelle Simonal,
Funky Four + One,
Lou Reed & John Cale,
the Soft Cell,
The Smiths,
Dawn Penn,
The West Coast Pop Art Experimental Band,
Suicide,
Maurizio,
FM Einheit,
Procol Harum,
Angry Samoans,
Skaos,
Minor Threat,
X-102,
Newcleus,
John Cale,
Ituana,
Technova,
Echo & the Bunnymen,
Joensuu 1685,
Tres Demented,
Dennis Brown,
Qualms,
Harmonia,
Sam Rivers,
Von Mondo,
The Divine Comedy,
Sun Ra Arkestra,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.